. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . nesand alternating tones \ see 161. 162 ; the appoggialuras and suspensions occur upon the accentedparts of the measure see 163, 151—B i. It will be seen, however, that the harmonies employed arethe essential primary) chords which are always employed upon the accented part of the measure( see 197—Maxim ). (ro6) 210. Application of the Cadences—Half Cadence.—The differentcadences (90, 12-4, 125) are employed in a composition at the end of aphrase, section Or period. A.—The PERFECT CAD
. A system of harmony for teacher and pupil : with copious examples, practical exercises, questions and index . nesand alternating tones \ see 161. 162 ; the appoggialuras and suspensions occur upon the accentedparts of the measure see 163, 151—B i. It will be seen, however, that the harmonies employed arethe essential primary) chords which are always employed upon the accented part of the measure( see 197—Maxim ). (ro6) 210. Application of the Cadences—Half Cadence.—The differentcadences (90, 12-4, 125) are employed in a composition at the end of aphrase, section Or period. A.—The PERFECT CADENCE—plagal or authentic (124), should be employed atthe end of a composition (at 7) ; at the end of a period (at 2), and may likewise occurat the end of a phrase or section (at 1, 3, 5). B.—The imperfect cadence (125) may be used at the end of a phrase or sectionin the middle of a composition (at 4). C.—The haef-cadence is found whenever a phrase or section ends with the dominant chord (6), and is employed in the middle of a composition (see Remark). Ein feste Burg — Johann Walter, I u <: vu . I. G: I. V7. I. d:V7. I. V. C: H. VT. I. REMARK.—The foregoing choral contains seven sections, which represent the seven versesof the hymn. At the end of each section l verse ) we form one of the cadences ( pause) mentioned in A,B, C. The first part of the choral has two sections and is repeated. The first section ends withthe perfect caderti e in the dominant key I 178— Ai, and the second with a perfect authentic cadence inthe original key—C major ( see 211— Remark). The sections ;i and 5 end with a per/eel cadence in thedominant key; the fourth section with an imperfect cadence in the original kev ; the sixth ends withan HALF CADENCE I see C ) in the key of d minor, and the last section is a repetition of the second, andends with a per/eel authentic cadence in the original key—C major. 211. Modulation in a Melody.—Not every melody indicates themo
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